On Some Faraway Beach Review » 8

David Sheppard ☆ 8 Free read

On Some Faraway Beach Review » 8 Ò Few record collections remain untouched by Brian Eno’s aesthetic DNA from ambient soundscapes and world music hybrids to cut ’n’ paste vocal samples and amniotic chill out rooms Eno is all around us A sonic alchemist to the stars his address book is a veritable who’s who of rock and his credit adorns an ouBrian Eno David Sheppard has interviewed key collaborators like David Byrne Robert Wyatt John Cale Bryan Ferry and Gavin Bryars But importantly Sheppard has had considerable assistance and input from Brian and Anthea Eno themselves while retaining an edge and independence in keeping with his subje. Reading a biography of a musician is always a bit treacherous in that we must seriously beware of its marketing role even if unintended of making one want to rush out and buy that musician's entire discography This is doubly true for a musician like Eno for whom the main compositional tool is the studio and whose main musical products therefore are recordings I for one count myself lucky that I'd at least already had a substantial Eno discography before I even started reading On Some Faraway Beach and that the only album the book actually got me to buy was that by Eno's frenemy Gavin Bryars Jesus' Blood Never Failed Me Yet the version featuring Tom Waits Otherwise — I probably really would have gone on a shopping spreeBrian Eno naturally is one of my favorite musicians and there are ways in which a chronicle of his life can't help but be revelatory The best part of the book to me was the story of Eno's very African music influenced New York period around 1980 which I really knew little about before Eno was still an habitué of Washington Suare Park often accompanied by Fred Frith There they would listen to the innumerable busking musicians and watch the fledgling break dancers dervish away Frith remembers how Eno's ingenuous engagement with New York's eddying street culture was compromised by his escalating celebrityMaybe it's because I'm a New Yorker myself but Sheppard's account of the comparatively brief time Eno spent here raised his narrative to a fever pitch It seemed natural after reading this section chapters 11 and 12 that the same musician who popularized ambient music should in fact be responsible for the production on such energy intense albums as No New York and Remain In Light Sheppard gives enough insight into where Eno's head was at during that time that it became no longer a disjuncture in my own headUnfortunately his loving recounting of Eno's New York life slowly starts dissolving into a scattered timeline of his wide ranging artistic projects soon thereafter something many rock biographies do and which I loved Marcus O'Dair's Robert Wyatt biography Different Every Time so much in part for not doing There is a particular paragraph in chapter 13 in fact where one can feel the author's energy simply starting to tail off The release of On Land marked the close of a chapter for Eno — the final instalment of the Ambient series coinciding with the end of his years of frenetic record releasing and a waning of his collaborative promiscuity Indeed promiscuousness of any kind was off the agenda as he spent increasing amounts of time seuestered in his loft working reading thinkingIt's a shame really that On Some Faraway Beach named after one of my favorite Eno songs too couldn't have been better written Some of the transitions Sheppard comes up with to move his story along are laughable By this stage Lloyd Watson was very much integrated into the Roxy camp so much so that he bore witness to some of its most intimate activities Brian later recorded a song called 'The Fat Lady of Limbourg' — not many people know that it was based on a real person She was indeed a rotund girl from Limbourg in Belgium and Brian and she became shall we say extremely well acuaintedRaucuous corpulent conuests from the province of Liege were but the tip of the libidinous iceberg for Eno howeverIt was a shame that I had to rate this book lower than the five stars I gave to Eric Tamm's Brian Eno His Music And The Vertical Color Of Sound but I stand by it Tamm's book was really my literary introduction to the

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Few record collections remain untouched by Brian Eno’s aesthetic DNA from ambient soundscapes and world music hybrids to cut ’n’ paste vocal samples and amniotic chill out rooms Eno is all around us A sonic alchemist to the stars his address book is a veritable who’s who of rock and his cr. this book was too well researched and not well edited I really liked it at first but then it became a little bit of a slog and I skimmed through some of the technological nonmusical noise towards the end the writer was working well too hard with the crafty clutter sentences and insecure word choices smug self satisfaction notwithstanding here and there Sheesh what's the zappa line about Rock Criticism Although this guy really is worried about the commentariat I hope he doesn't any because the anxiety was palpable The stuff on Roxy music and the mid seventies new york music scene was velly good but it waned dramatically after the Budd stuffUnfairly on my part I think less of Eno than I did before I started and he was a demigod to me because of the hagiographic tone of the account as well as the incredible selfregard that would slip out here and there though it's definitly hinted at in the last paragraph RE Fripp Most disappointed that he abandoned his child when he was young and annoyed that he's just another limey when it comes to slagging off los angeles but that's me being subjective he does like Rorty so that's something And it gave me a much better appreciation of Lanlois and Budd Best thing about the book all the various influences and tangents that eno took so I have a list of all new musicians to follow Neu and others as well as reminding me how much I like the talking heads

Review On Some Faraway Beach

On Some Faraway BeachEdit adorns an outrageous number of albums Tellingly Eno’s work with Roxy Music David Bowie Talking Heads Devo U2 and Coldplay has coincided with those artists producing their most critically revered work  On Some Faraway Beach is the first serious critical examination of the life and times of. It's OK Sheppard draws on some new interview material albeit not with Eno Other than that there's fair bit of recycled material and it's rather uneven very good and detailed on Eno's work up to about '82 and then it speeds up and gets rather superficial